Okkervil River – The Stage Names
Released August 7th, 2007 on Jagjaguwar Records
Okkervil River may be indie rock’s perennial “mid-level band” (as they refer to themselves on “Unless It’s Kicks”) but The Stage Names, their fourth album, they burst up above the clouds to briefly take their places among the rock ‘n’ roll pantheon. This is not a reference to any hits – there are no hits, a criminal shame in itself – but instead to pure songcraft, the perfection of a crafted album and the wry, self-reflective poetry of frontman Will Sheff. Their previous album, 2005’s Black Sheep Boy, came close to the indie-rock mastery present here, but they would never again achieve such heights (although 2013’s The Silver Gymnasium comes kind of close). Unlike Black Sheep Boy there is no explicit concept (that album was an exploration of the life and death of junkie-poet-folkie Tim Hardin); however, there’s some pretty clear themes running through The Stage Names that make it a sort of meta-rumination on Sheff, the band, and the nature of rock ‘n’ roll mythology. If the album could be said to be about anything, it’s about the cheap theatricality of populist art, and the complicated narratives that we spin around simple people.
We think of our lives as films, with narrative arcs and neat endings; “Our Life Is Not A Movie Or Maybe” posits that there is no such thing. Sheff sings that “It’s just a life story, so there’s no climax” and teases here and there that are moments that make one think that their life could be a movie, if you looked at them sideways in the magic hour that begins twilight. “Unless It’s Kicks” is an admission that the narrative created by the consumer of art bears no resemblance to the author’s intent (and here we go rehashing that argument again); “What gives this mess some grace unless it’s fiction,” he asks, “Unless it’s licks, man, unless it’s lies or it’s love?” and then implores a fan “with their heart opened up” to take warning about believing your own lies. Those lies – the narrative we impose tyrannically on the anonymous textures of everyday life – are important, because they impart some meaning onto the ultimate meaninglessness of existence, but if we believe in these lies too fully we risk trapping ourselves in an unrealistic narrative that can crush us if it’s revealed to be too much of a lie. “A Hand To Take Hold Of The Scene” is about the slick and vicious nature of some of those lies; Sheff buildings the lyrics out of scenes from television shows that Okkervil River’s music has been featured in, including a Cold Case scene where a serial killer picks up a male prostitute, kills them, and buries them in a remote, rocky area. “Savannah Smiles” shows the flip side, being about Shannon Michelle “Savannah” Wilsey, a pornographic actress who swallowed her own narrative so completely that when she was disfigured in a car accident she killed herself rather than face a life without being her illusory, created self. “Plus Ones” takes aim at our mad frenzy to keep the story going, to churn out sequels and franchises in order to never end the imposed narratives we’ve become obsessed with. “A Girl In Port” likens the travelling rock ‘n’ roll band to being sailors with girls in every port, only the girls in port for rock ‘n’ roll bands are acting out the dictates of the (usually false) mythology that builds up around bands. “You Can’t Hold The Hand Of A Rock And Roll Man” bridges the gap between the narrative of youth and wealth and the reality of age and starvation for artists; “Title Track” tackles the illusion of stardom head-on with an eye to it’s utter absurdity. The final song, “John Allyn Smith” sets sail, tracks the life and suicide of poet John Berryman, a doomed artist who was something of a muse in 2006-2007 as he was referenced by a number of others, including The Hold Steady on Boys And Girls In America. It examines the mythology of the poet versus the sad, sordid reality (alcoholism and suicide attempts) and caps it off with a rendition of the traditional “Sloop John B” that feels more like suicide note than the raucous ode to debauchery and hangovers it usually is.
The album that came directly after, 2008’s The Stand-Ins, would be a sort of second half of The Stage Names, but would not be as successful in mining it’s themes for frisson; The Stage Names still remains Okkervil River’s crowning achievement. I first fell in love with it on a bus trip; I was going north to help close down the family cottage and on the bus ride I had enough time to listen to two albums. I ended up listening to The Stage Names twice, entranced by it’s lyrics, it’s melodies, and the way that the two combined to run goosebumps up and down my arm. Ten years later I still sing along to every word and, if pressed, I’d probably place it in my twenty favourite albums.
Bon Iver – For Emma, Forever Ago
Released July 8th, 2007
Before 2007, Justin Vernon was a folky college rocker with an obscure band (DeYarmond Edison) and a girlfriend. In 2006, after college ended, Vernon and the band moved to North Carolina; the band and the relationship both ended in short order, and Vernon was left with mono and a liver infection, as well as a frustration with songwriting, shitty jobs, and the creeping sense of mediocrity that was building in him at the age of 25. Rather than get a 9-5 and try to settle into obscurity, Vernon exiled himself to his father’s hunting cabin in remote Wisconsin and lived alone for a while, trying to find himself and a new way to write songs without crushing his spirit. He lived through three months of Wisconsin winter, hunting for food, chopping firewood, and at one point fending off a bear. Songwriting came along, developing out of ideas he’d had shortly before a wave of depression drowned everything; they were built out of simpler arrangements, and wordless melodies that were sung in a falsetto.
The eventual result was For Emma, Forever Ago, which Vernon self-released ten years ago today. Originally he’d emerged from the Great Midwestern Wilderness with nine songs and vague plans of using them as a demo to try to convince some label or another to give him money to record a slicker version of it. His stint as the touring guitarist with North Carolina band The Rosebuds convinced him that, much like Bruce Springsteen’s Nebraska, Vernon’s recordings already were an album. He released it as such, and he quickly began fielding offers from big indie labels. Everything that came after – the fame, the Grammy (“Who da fuck is Bonny Bear?”), the job as hook man for Kanye West – stems from this, a musical act of coming to terms with the past and the things you can’t get over. “Flume” was written just prior to his breaking up with his girlfriend and retreating to the wild – he claims that it’s the song that pushed him into going in the first place. The subsequent songs dwell in questions of love, of the direction of life, and the sense of being trapped; “Re: Stacks” makes reference to his being trapped in a cycle of online gambling.
I think that this album turning a decade old is the surest sign that I am, in fact, slowly growing old. When an album like Warehouse: Songs And Stories turns 30, it doesn’t hit me as hard because I was 5 when that album came out, and I came to it much later. For Emma, Forever Ago came out when I was 25, the same age as it’s creator, and it’s sense of creeping mediocrity spoke loudly to me. It still does, ten years on, and I hope that I can eventually come to terms with it in as glorious a fashion as Justin Vernon did.
Spoon – Ga Ga Ga Ga Ga
Released July 7th, 2007 on Merge Records
There are days – many of them – where I feel like Ga Ga Ga Ga Ga might low-key be my favourite album. It is, at the very least, an album that I can throw on at any time and be perfectly comfortable with it being on. It’s hard to pick out a favourite moment, too, since they all seem so great. Is it the brash horns on “The Underdog”? Is it the line about doing an airborne and settling in for the night (like there’s any settling after one of those)? Is it the tube reverb that makes the guitars on “Don’t Make Me A Target” such a delight? Is it the relentless snare in “You Got Yr. Cherry Bomb”? The slinky, blatantly sexual bass line of “Don’t You Evah”? Being a slut for the New York Times? Maybe it’s the way the album seems sculpted to perfection, with every string, guitar, horn, and drum beat in exactly the right place. It exudes confidence and bleeds charisma.
If there were any true justice in the universe, Spoon would be as big a band as the Rolling Stones, but instead they’re as big as LCD Soundsystem, which counts for something. They would go on to release three more albums, of which only the last (this year’s brilliant Hot Thoughts) comes close to equaling the meticulously grooved music presented on Ga Ga Ga Ga Ga.
The National – Boxer
Released May 21st, 2007 on Beggars Banquet
Boxer was the breakthrough for one of indie rock’s most cherished bands, and it was also a personal vindication for the band itself. They had gotten together near the end of the Dot Com era in New York and had started recording with stars in their eyes. Their first tour, however, found them playing to scant crowds, in some cases just to the staff of the venue. Six years and three albums later, they were the buzz band du jour in the indie world, selling out shows and receiving a great critical feting. The albums in that lead-up process were stellar, but Boxer transcends them by simply perfecting what they already do. The National do a few things and they do them exceedingly well.
In lesser hands these would be mopey bar songs, like a garage band that’s just graduated to doing Cure covers in the local dive. Instead, the Dessner brothers craft arrangements that step lightly through the wreckage of breaking relationships and fill out the corners without being oppressive about it. The intro of “Fake Empire” shows off the skills of Aaron Dessner particularly: he’s figured out how to make playing two different rhythms in two different times on two different hands sound as natural as a simple 4/4 melody. The rhythm section, anchored on Bryan Devendorf’s quick wrists, gives these songs a serious heft that propel them out of any potential light-rock mix-station hell. The drums on Boxer are in fact a hidden weapon, striking when you least expect it on first listen and lifting up the dynamics of a song all on their own. They give “Ada” a hurry-along quality that keeps the riot of strings, pianos, and gorgeously fingerpicked guitar intact and impactful. Then, of course, there is Matt Berninger’s classic baritone voice, a mournful, wryly sorrowful instrument that emotes even the sometimes obscurely literate lyrics, like Leonard Cohen without the Eighties cheese trap he fell into. It’s a voice like straight whiskey and mahogany bars, singing about desperate husbands and teetering loves with the air of one with a lifetime of unfortunate experience.
Arctic Monkeys – Favourite Worst Nightmare
Released April 23rd, 2007 on Domino Records
The Difficult Second Album has always been a problem in rock ‘n’ roll. After an album that sets the world on fire, relatively speaking, the follow-up is constrained by time, hype, and record label needs. It’s also constrained by artistic pig-headedness – the curse of “Oh they think we’re just about this sound, well WE’LL SHOW THEM!”
They inevitably don’t light the same fire that the first album did, and both the critics and paying public feel lukewarm and move on, leaving only a small coterie of hardcore fans who stick around, convinced that the band can do no wrong. This was the Strokes on Room On Fire, The Hives on Tyrannosaurus Hives, Weezer on Pinkerton, Massive Attack on Protection, Alanis Morisette on Supposed Former Infatuation Junkie, Live on Secret Samahdi. This was, ostensibly, Arctic Monkeys on Favourite Worst Nightmare.
Whatever People Say I Am, That’s What I’m Not, the Sheffield band’s first album, was world-shaking, especially in their native England. When the Strokes first came to the UK it was as though an atom bomb had gone off; within four years bands influenced by the Strokes were clogging up MySpace, hawking their wares and building their fanbase one grimy all-ages show in a small town after another. Arctic Monkeys were one of those bands, but multiplied by a hundred. At the height of MySpace as a social media platform, they were one of the two bands that leveraged their fanbase into massive real-world success (the other of course being Fall Out Boy). Unlike their American counterparts, Arctic Monkeys could actually write good songs; Whatever People Say was chock-full of poetic renditions of liquored-up good times, a paean to English drinking culture, small-time rock scenes, and getting up to shifty business in very dodgy places.
How to follow up such a successful first album, though? It’s a tightrope walk, as the Strokes themselves knew all too well, and it’s always going to be fraught with heavier criticisms than might otherwise be warranted. So it went with Favourite Worst Nightmare. Critics were unconvinced by the songs, claiming the snarky swipes at the scene that had given birth to them were dreadful. While there is some merit to this particular criticism (especially in dead-ringer slogs like “If You Were There, Beware” and “The Bad Thing”) it obscures the great songs that are embedded in the album. “Brianstorm” is a barnburner of an opener and a delightful piss-take on the younger set of would-be managers and show promoters. “Teddy Picker”, “D Is For Dangerous”, and “Balaclava” hearken back to the band’s debut – leave the progress for the next three albums, this was all about doubling down on what worked. “Fluorescent Adolescent” is a stone classic of a song, the sort of song that transcends whatever album it’s on to be a classic of a band’s canon; it’s first line (“You used to get it in your fishnets, now you only get it in your nightdress”) sums up an entire feeling of the kind of heavy nostalgia that can get you into serious trouble later in life in such a way that is honestly rare in youth-oriented rock ‘n’ roll. Favourite Worst Nightmare is blessed with two of these sorts of classic tracks, the other being “505”. “505” was, in 2007, the odd one out in the band’s catalog, a smooth number that builds up to a crescendo, rather than the riff-oriented bangers that the band was otherwise known for. Humbug, their follow-up, would show a band that wanted to focus on this aspect of their songwriting, and it was all the better for it.
(The entire Glastonbury 2007 Arctic Monkeys performance!)
It’s somewhat funny to look back on Favourite Worst Nightmare and remember the disappointment some felt, and the defensiveness that others felt they needed to exude to combat this. As far as contemporary bands, Arctic Monkeys have surely aged the best; AM, released in 2013, was easily one of the best albums of the year, a feat that bands like Fall Out Boy could only dream of (especially given that every album subsequent to From Under The Cork Tree was complete garbage). Even the Strokes couldn’t manage that; everything after Is This It? was a mixed bag. Not bad for four kids from Northern England.
Stars Of The Lid – And Their Refinement Of The Decline
Released April 7th, 2007 on Kranky Records
Stars Of The Lid, here at least, deal with symphonies that have been compressed and stretched out and compressed again until the word “minimalist” doesn’t mean anything anymore. This is music where the drones fade in and linger and then fade out again, creating the definition of ambient music and also establishing the purest sense of a symphony of drones. Often times the tracks presented here feel like the tail-end of some greater whole, like someone cut off all of the end bits of Godspeed You! Black Emperor suites and stitched them together to create something new and bizarrely compelling.
There is something akin to Phillip Glass here, or a more spaced-out Brian Eno, but neither is really accurate. It’s stark music that is too atomized to really be all that striking, and yet you’ll find yourself coming back to certain moments throughout the impressive length of the album time and time again. There is a certain peace to the record, although it is an edgy peace, not entirely at home with itself. If we return to the previous Godspeed analogy: if Godspeed is the soundtrack of the apocalypse (as I’ve thought on numerous occasions) then And Their Refinement Of The Decline is the soundtrack to the still world that comes after the apocalypse, when the dust settles and the spiders spin their webs and all is but a silent, irradiated ruin.
The Field – From Here We Go Sublime
Released March 26th, 2007 on Kompakt Records
Axel Willner – The Field – didn’t do anything revolutionary on From Here We Go Sublime. It didn’t progress his chosen field – although the exact nature of that chosen field can be a little blurry at times on the record? Is it trance? Is it a more European techno? People at the time were enamored with the term “microhouse” and there’s definitely something to that term here. It’s certainly in a broad sense house music: the 4/4 beat, the hi-hats on the twos, the looping instrumentation, the arpeggios. However, it feels like house music that has been compressed and blurred until it fits in a small, compact space; it’s the perfection of a form that existed for a nascent moment in time, the epitome of microhouse and a bangin’ good album. Every sample Willner uses is piled on top of the last, layers piled on layers until you can no longer see the bottom; shot through all of that is a tight, thumping bass that pushes more air than the next six house records combined. It’s the very definition of minimalism in EDM, and it’s textured, treated hooks burrow under your skin and stay there for life.